The Ongoing Amazing Comics Auction
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on August 4th, has some incredible finds you won’t want to miss.
According to Heritage Auctions Co-Chairman Jim Halperin, “The market is great,
we really hope that it stays that way, we are loving it! Everytime WorldCom or
Enron is on TV it is like an ad for the collectibles business–everyone is
looking to diversify their portfolios!”
This auction, which will be
running through 10 p.m. Sept 1st, features such highlights
as:
Adventure Comics #101 Big Apple pedigree (DC, 1946) CGC VF/NM 9.0
Off-white to white pages. Starman and Shining Knight stories. Joe Simon and
Jack Kirby art. Overstreet 2002 NM 9.4 value = $1,050.
Crime
SuspenStories #9 Gaines File pedigree 8/11 (EC, 1952). CGC NM/MT 9.8 Off-white
pages. Overstreet 2002 NM 9.4 value = $385.
Military
Comics #14 Pennsylvania pedigree (Quality, 1942) CGC VF/NM 9.0 White pages.
Private Dogtag begins. Reed Crandall cover and art. Overstreet 2002 NM 9.4 value
= $925.
Panic
#1 Gaines File pedigree 11/12 (EC, 1958). CGC NM 9.4 Off-white to white
pages. Overstreet 2002 NM 9.4 value = $325.
Panic
#8 Gaines File Pedigree 11/12 (EC, 1955) CGC NM/MT 9.8 White pages. Last
Pre-Code issue. Overstreet 2002 NM 9.4 value = $115.
Sub-Mariner
Comics #9 (Timely, 1943) CGC VF 8.0 White pages. Basil Wolverton artwork.
Overstreet 2002 VF 8.0 value = $1,364.
Two-Fisted
Tales #23 Gaines File pedigree 7/10 (EC, 1951). CGC NM+ 9.6 White pages.
Davis, Kurtzman, and Wood art. Overstreet 2002 NM 9.4 value = $300.
Young
King Cole V3 #7 Mile High pedigree (Novelty Press, 1948) CGC NM+ 9.6 White
pages. L.B. Cole cover and art. Overstreet 2002 NM 9.4 value =
$195.
To
bid on this or any future auctions, simply visit www.hetitagecomics.com.
Heritage
will also be holding another Signature Auction featuring comic books, original
comic art and vintage movie posters the weekend of October 11 – 13.
Keep an
eye on The Scoop for more details on this auction – which is sure to
uphold the brilliant standard already set forth by Heritage.
For now,
prospective consignors and sellers of top-end comics material and original art
who wish to offer their material in a separate catalog alongside The Nicolas
Cage Collection can call Ed Jaster at 214-252-4288 or John Petty at
214-252-4392. Movie poster consignors, please call Grey Smith at 214-668-6928 or
email GreySm@HeritageMoviePosters.com.
t save them or hoard them or try to get all of them, but I read and re-read everyone I could get my hands on before I traded them for something else. Uncle Scrooge and Donald were my release and therapy from ages 8 to 13.”
par
par tab Early in his teenage years, though, Confer’s attention turned to the world of radio in his native Williamsport, Pennsylvania.
par
par tab ”In those days, we only had two radio stations. They were cornball stations that played soap operas, which was not unusual for radio in the late ’40s and early ’50s, but that wasn’t of any interest to me. As I got to be 14 years old, though, there was the birth of rock and roll. They refused to play it in Williamsport, but I discovered that when the sun went down, I could get these 50,000-watt clear channel radio stations from all over America. I started listening to Buffalo and Chicago and Nashville, hearing all the latest songs. I would start listening around 8:00 PM and sometimes listen until one or two o’clock in the morning.
par
par tab ”By the time I was 15, I was copying down the clever things the DJs would say and was practicing doing it myself. Then, when I was 16, a guy came along and he announced he was going to build a third radio station in our town. Soap operas had died on radio because they were all now on TV, and this guy decided to have pop music 24 hours a day. I showed up the first day and said I would help build the station when I wasn’t in school. I said I’d be there seven days a week and wouldn’t charge him anything, but when the station went on the air I wanted a job as a DJ at minimum wage. That was a buck an hour back then. He said, ’Deal.’ I helped him for a year. I was a gopher, cleaned the toilets, changed the light bulbs in the tower, and did whatever had to be done. When we went on the air, I was the first voice on the station. I even picked the station’s call letters.
par
par tab ”I was there for a couple of years, then I heard about a job that was open at WCAO. There were 50 guys auditioning for the job, and I drove all night to get down there at 8 o’clock in the morning, and by some miracle I got the job. Six months later I was emceeing the Beatles in Baltimore.”
par
par tab Those amazing days led to a local TV dance show in Baltimore from 1967 to 1970.
par
par tab ”Then, in 1969, I had the biggest break of my life right there in Baltimore. I had been on the radio and TV for about 5 years. I was 29 years old and I’d emceed the Beatles, the Rolling Stones, Iron Butterfly, James Brown, and every soul act you can think of. I didn’t want to be 40 and just going through the motions because I had really enjoyed everything I’d done. Then I got a magic phone call.
par
par tab ”A man named Marvin Mervis called me and said, ’Kerby, you don’t know me, but I’ve been watching you on TV and I’ve heard you